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Review: Rhys James – Forgives and Adam Hess – Feathers

November 26, 2016 by Becca Moody Leave a Comment

Rhys James and Adam Hess have been touring the country with their latest Edinburgh shows, bringing them eventually to the studio room at Birmingham’s Glee Club. The audience gathered is small but the atmosphere is good; improved certainly by the obvious strong friendship between the two comics performing. They live together, enjoy annoying each other and frequently refer to each other in their sets. Adam can even be seen sat on the floor in the corner of the room during Rhys’s performance.

Rhys James’s comedy is sillier than I anticipated it being. The impression I have always had of him is a rather cutting, almost condescending one, and his presence on stage comes as a surprise. With strange idiosyncrasies like the abbreviation of “high presh sitch,” as well as the flippant “soz”, James’s comedy is energetic, playful and enthusiastic. Amongst the impression of careful craft in terms of joke and narrative structure, Rhys has charming elements of impulsivity, referring to the four empty seats on the front row: “They come to all my gigs.”

An indicator of Rhys’s understanding of the craft is his own comment on his comedy. He seems to be very self aware and reflective, casting opinions on his actions within the narratives as well as the reactions his jokes receive in the room. This comedian is able to develop a believable narrative that encompasses detailed and obscure observations he has made without leaving the show disjointed; in fact, it is rather seamless. Rhys James’s latest hour is excellently written. He is cynical and analytical, whilst remaining endearing, with the show even getting quite emotional towards the end as the comic considers his next fifteen years of life.

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Now, it’s not difficult to believe that Adam Hess was the naughty kid at school. Hess seems to have retained this strange blend of pride and shame, paired with an innate sense of mischief that makes him a really likeable performer. The comic tumbles onto stage with a somewhat frantic energy that builds as the show progresses, his material getting stranger and stranger as he delves further into rather odd experiences from both his childhood and adulthood.

It seems as though Hess has had a tough year. His extravagant tale of recent efforts to make a banana split alone on Valentine’s Day at 2am is rather depressing. But his flailing desperation isn’t dampening of the mood, but rather bordering on hysterical. Adam knows he’s an object of pity according to this narrative, and plays it to his advantage. And if you let your mind wander for as little as one minute, you will jolt back to attention having missed a multitude of ideas that fly at his audience with impressive pace. His joke economy reflects his attention span, perhaps, and watching Adam perform has moments that are exhilarating.

It is interesting to consider the effect of social media presence on the stand up style of these two performers. Both shows are well-formed, with space for spur-of-the-moment audience interaction and callbacks where each comic rebounded off the enthusiasm the audience were already reflecting back. There are concise jokes and multi-layered scenarios, perfect for the Twitter generation and incredibly handy for keeping the energy up within live performance.

FOR MORE INFORMATION VISIT RHYS JAMES AND ADAM HESS’S WEBSITES

Edinburgh Preview: Peter Brush, Dreams With Advert Breaks

July 27, 2016 by Becca Moody Leave a Comment

Peter Brush walks onto the stage at MAC in Birmingham to perform a preview of his new show Dreams With Advert Breaks with an air of apology about him. Confident in himself but self-critical, constantly editing, analysing and evaluating. This show is just his second solo hour, but Peter progresses through his material efficiently and chronologically, with a quiet confidence in the content of his show, if not quite the timings at this stage.

Aware of the impression an audience may have of him based on his appearance, as a young-looking, moderately long-haired, spectacle-wearing man, Brush openly shuns the label of ‘nerd’ or ‘geek’, stating that he actually has little interest in things that one might associate with such a trope. The comic explains the premise of his new show, which one could describe as a nostalgic look at childhood, including his past dreams (those that occur whilst asleep and those upon waking).

Brush’s guilty pleasure, it seems, is incorporating the kind of jokes into his sets that induce groans or tuts from an audience. What is refreshing is that he doesn’t care, because he enjoys these quips, and often so do we, or rather we enjoy the satisfaction of a small, rounded-off joke, as a change from longer-form narratives. Peter is aware that silly throwaway remarks are not sufficient to build an entire show and he knows that this is, in turn, not what an audience wants to hear, and in this way the comic shows a proficiency for reading his audience.

The narrative of the hour itself shows promise of being satisfyingly complex, with pleasing callbacks towards the end of the hour that bridge the gaps, from early childhood memories to the present day, although there were gaps within this performance as Peter expressed a wish to perform the latter part of the show, and therefore missed out sections from the middle. A shame for us, perhaps, but surely audiences in Edinburgh will have the loose ends sufficiently tied up.

The most impressive aspect of Brush’s writing is arguably a remarkable ability to conjure up surreal imagery within everyday mundanity. These whimsical reconstructions of childhood memories and dreams earn him many satisfied nods of heads, as opposed to laughs, and epitomise his comedic style; quiet, subtle, understated.

Peter Brush will be performing his show Dreams With Advert Breaks at the Edinburgh Festival.

MORE EDINBURGH PREVIEWS

Edinburgh Preview: Lloyd Langford – Rascal

July 20, 2016 by Becca Moody Leave a Comment

Known by many as Rhod Gilbert’s trusty sidekick, both on the 2010 television panel show Ask Rhod Gilbert (as well as other projects including Gilbert’s pilot sitcom Back To Llanbobl, which is expected to air this Autumn), and in recent years as tour support, Lloyd Langford is a comic of extensive television and stand up experience, and this shines through consistently in a preview of his latest show Rascal, performed at MAC in Birmingham.

Langford takes to the stage with his trademark droll delivery and slouched posture. His new show primarily considers the perils of relationships in the 21st century society, with the comic self-proclaiming it to potentially be his rudest hour of stand up thus far. Lloyd takes delight in saying what everyone else is thinking; not afraid to push an idea slightly too far or make his listeners feel slightly uncomfortable, particularly regarding latecomers. Here we have a comedian who clearly appreciates what an audience want from a live comedy experience. Lloyd’s off-the-cuff remarks are pleasingly quick and he segways between audience interaction and material smoothly, despite the fact he is performing an unpolished show.

Developing ideas based on life experiences over the past year, with topical references scattered throughout, it is somewhat difficult to tell whether this comic is being truly open with his audience or not. Langford’s material makes him appear quite solitary at times; yes, there are mentions of past girlfriends here and there, and talk of a cruise with his parents and brother, but the majority of the show centres around Lloyd’s own private musings, triggered by his experiences while travelling with work (perhaps fitting with the view that stand up comedy is one of the loneliest careers).

Lloyd Langford epitomises a no-messing-about, does-what-it-says-on-the-tin kind of comedy. He conveys an attitude that is both underwhelmed and apathetic, yet also irritated by the many obstacles that modern life presents, from hotels, to the weather, to terrorism (those “proper ne’er-do-wells, scamps, bad eggs”). But beneath the silliness, an anger certainly bubbles under the surface of Langford’s comedy, reminiscent of fellow Welshman Rhod Gilbert. This new show, however, does not see any of that frustration overflow; Langford remains in control. Instead, he is gleefully childish, sometimes bordering on pedantic, happy to play devil’s advocate through his cynicism and judgements, bringing out the naughty child that hides within each of us.

Lloyd Langford will be performing his show Rascal at the Edinburgh Festival.

SEVEN QUESTIONS WITH… LLOYD LANGFORD

MORE EDINBURGH PREVIEWS

Review: Katherine Ryan – Kathbum

June 8, 2016 by Becca Moody 1 Comment

Perhaps a bit late to the party, as her DVD record at the Eventim Apollo is due to take place the following night, hundreds of fans flock to Birmingham’s Town Hall to see Katherine Ryan’s critically acclaimed and Chortle Award-winning show, Kathbum.

Ryan varies her support acts throughout each tour, and tonight’s warm-up entertainment comes from Stephen Bailey, who, as Katherine rightfully states herself, better fits the criteria for a headline act than a support slot these days in terms of competence in performance. Stephen is a wise head on young shoulders; reassuringly secure in himself and his act in a way that enables him to take an audience under his wing. With an attitude of confidence and independence, blended with a humorous suggestion of neediness, Bailey’s material is slick, but not so slick that audiences have difficulty warming to him.

Katherine Ryan has blossomed over the past year and this is clear from the moment she walks on stage, greeted by bellowing cheers of excitement and endearment. She appears surprisingly relaxed, but humble, explaining her reasons for always bringing a support act with her on tour before progressing towards the heart of the show.

This comic is constantly developing as a writer and performer, which is some feat considering how smart and cutting her comedy has been since her first UK tour in 2013. This latest show is about evolving as an individual as those we grew up with do the same, and the inevitable drift from those we used to relate to. Ryan uses this as a tool to discuss issues relating to overcoming the judgements of others and being assured enough in ourselves to make the decisions that are best for us. The somewhat-obsessive interest in celebrity culture is still apparent, serving as a metaphor for greater issues in society such as racism and misogyny.

Katherine’s comedy is self-aware in a triumphant sense, rather than a defeatist one. Her craft is admirable, with each narrative carried out to its conclusion and perfectly timed callbacks that fit into the performance, rather than shape it. She is professional, yet personal; brutally honest but not irrational in her cutting remarks with each issue being clinically dissected and evaluated before any ill-informed opinions are able to be expressed. And whilst she may introduce challenging concepts, Ryan always has her audience’s best interests in mind, assuming an almost-maternal role that shines through brightest when she talks directly to young female audience members; whom we might deduce to be her target demographic.

Katherine Ryan is not fazed by anything, it seems, whether that be hecklers or significant life events. The quality of her craft is creatively motivating; the content emotionally uplifting, whilst remaining delightfully unpredictable, accessible and genuine.

KATHERINE RYAN’S DVD RECORDING OF ‘KATHBUM’ WILL BE AVAILABLE SOON

Review: Bramall Comedy Night Wayne Deakin, Ivo Graham & Andrew Ryan

May 25, 2016 by Becca Moody Leave a Comment

Ivo Graham

The latest comedy night at the Bramall at the University of Birmingham sees two returning acts to the stage, compèred Australian stand up Wayne Deakin. Deakin’s enthusiastic demeanour allows him to win over a crowd within the first couple of minutes, even a particularly quiet, low-energy gathering it seems. He flits around the room, asking surprisingly interesting off-the-mark questions to audience members about their jobs and relationships. Deakin is able to effortlessly create an atmosphere of familiarity and goodwill, summoning an energy from apparently nowhere which enables him to break through any starchy feeling that a compère may be faced with.

Next, Ivo Graham ambles on stage, announcing that there is a “nervous energy in the room,” of which he seems to feed off. Graham is apologetically middle class, appearing rather defeatist in his outlook at times, perhaps due to an apparent concern for the way others might perceive him. Immediately adopting a ‘loser’ status, it seems that this comic wishes to be likeable but also slightly enjoys the alienation that comes with playing up to his Eton College upbringing. Ivo proves himself to be a very capable and efficient storyteller, incorporating a sinister element to his delivery that may be caused, in part, by the inevitable tension caused by confiding in an audience about his schooling.

The final performer of the evening is Andrew Ryan. Charming and bright-eyed; eager to entertain and unafraid of sharing more intimate details about his life in front of a live audience. His anecdotes are confident and consistent, his delivery assured, and even relatively untested material seems to have legs. It appears that this gig provides particular benefits for the structuring of Ryan’s narratives, with the comic feeding off his own energy to propel him in all sorts of directions, providing plenty of room to develop these for his latest Edinburgh show.

BRAMALL COMEDY NIGHTS

Review: Bridget Christie: A Book For Her Tour

April 29, 2016 by Becca Moody Leave a Comment

Bridget Christie is currently touring her latest show A Book For Her across the UK in conjunction with her debut novel of the same name. The catalyst for this show is the relatively recent launch of a BIC pen specifically designed for women, named A Bic For Her, which Christie based her 2013 show around. Unfortunately for society, though perhaps fortunately for fans of the wrath of Bridget Christie, not a lot has changed in more recent years.

Gender inequality is still clearly a distressingly vast problem despite recent minor victories such as the abolishment of the tampon tax. But the problem is slowly moving and as a result; so is Christie’s comedy. Feminist issues still hold an integral part of this latest show but it feels as though there is a branching out of comedic focus. Christie’s latest hour feels more personal than her previous two shows, with a stronger autobiographical element to match the tone of her book, with the comedian often reading directly from her own copy on stage.

Christie’s absurdist roots still form the basis of her comedic insight and you don’t have to look too closely to observe them. In fact, these surrealist, almost-slapstick routines are all the more pleasing within this new show as they aid the breaking down of the heavier, political material. Recounting her 2010 show A Ant allows the comic to revisit her surreal character-comedy foundations, much to my delight, though she frequently has to express, “I’ve not gone mad,” to a quiet but appreciative audience. Beginning her show so unassumingly, with such quiet self-assuredness, it is quite remarkable to reflect on the development of Christie’s material over the hour.

Bridget skilfully builds layers of irony, to extents where the thought of audience members misunderstanding the message concerns her so much that she needs to check all in the room are on board. Although dampening the effect of her sarcasm to some extent, a great deal of self-awareness is shown as a result. Perhaps there is a need to cover her own back, as an outspoken political comic, and this quality is endearing, as much as it is disheartening that there are people who may misinterpret. Christie also has a talent for manipulating timing, cleverly sneaking a great deal of important statistics into her routines and allowing their inclusion to become increasingly prominent as the material progresses.

Let us not forget that Bridget Christie is an ever-developing performer, appearing to change the focus of her comedy to fit the time of writing, and this is a hugely admirable trait in an act, reducing the possibility of any stagnancy. Yes, feminism is a greatly talked-about topic, and it can get boring to have to keep covering old ground as the issues refuse to be resolved, but it is to Christie’s credit that this is not her first show with the issue of inequality at its core, and we are yet to get bored. Bridget Christie is a re-inventor, an innovator and voice of absolute sanity. And she and I would like to have it noted that we both look quite like Oliver Cromwell.

BRIDGET CHRISTIE IS CURRENTLY TOURING ‘A BOOK FOR HER’ ACROSS THE UK

Review: Tony Law: Frillemorphesis

April 13, 2016 by Becca Moody Leave a Comment

It sounds like Tony Law has had a turbulent year. He returns to the stage with an air of a wise traveller, declaring that he has been doing “a whole lot of therapy lately” and has recently given up drinking. He states that we are all mainly there to “see if he’s alright,” which, it may surprise Law to hear, rings partly true.

An enlightened Tony Law is perhaps even more fascinating than his more bashful, younger self. He’s just as enigmatic, just as physical and certainly just as shouty, but his latest hour brings more personal elements than audiences have previously been subject to. That is not to say that his show is free of hilarious gimmicks and props: an extremely heavy cape, the plastic head of a horse, Mickey Mouse gloves, a trombone.

Tony Law

There are more down-to-earth elements of Frillemorphesis than I have noticed in previous shows. Tony frequently references his family pets, time spent at last year’s Edinburgh Festival and even the car he drives (it was a shock to most that he is even allowed on the roads, judging by the fact that half an hour previously he had been energetically impersonating a horse).

It is intrinsically important that we don’t get too caught up in Law’s narrative, as this often leads to confusion. The trick is to let yourself get swept up and trust that this comedian will tie up all the loose ends eventually. I don’t know how he does it but the mayhem is invigorating. He’s very aware of his own absurdities but doesn’t seem to care in the slightest. And though his surreality may alienate audience members who don’t follow, it only serves to strengthen the sense of community within those who do: Tony refers to his stand up as “a bit of a group effort,” and in many respects he is absolutely spot on. The audience of a Tony Law gig is a hell of a lot rowdier than that of many other performers I have seen; we reflect his own energy and enthusiasm. In this sense, I believe that Tony Law is comedy at its finest. And all over by 9.30pm.

SEVEN QUESTIONS WITH TONY LAW

Review: Bramall Comedy Night, Craig Murray, Damian Clark & Nathan Caton

April 9, 2016 by Becca Moody 1 Comment

This month’s comedy night at the Bramall at the University of Birmingham sees a change of room, with a smaller audience congregating in one of the ‘domes’ on the top floor of the building, making for a more intimate comedy gig than the main hall allows. And with most of the university’s students being at home for Easter it soon becomes clear that this is, in Nathan Caton’s words, a very “non-student student gig”.

Craig Murray compères (failing, I was later informed, to mention that he is in fact the face of the Plusnet adverts). Here we have a prime example of a comedian who knows how to work a room; there was none of the anxiety that often comes with an MC’s opening skit, where they inevitably pick on a few unfortunate audience members. Murray did speak to many members of his audience but his friendly demeanour eliminated any nerves. His anecdotes are packed with energy, effortlessly finding hilarity in the mundane whilst also proving himself to be excellent at bouncing off the audience’s ideas, allowing an enjoyable atmosphere to emerge.

The first act to be introduced is Australian Damian Clark, a powerhouse of comedic frenzy. Almost childlike in his excitement at apparently everything he experiences, he is incredibly endearing as a performer. Damian was able to comment on British culture whilst being one step removed from those he talks about, having only lived in England for four years, and he doesn’t claim to understand everything about the culture, which is in itself something not often seen within stand up performers. Getting worked up about seemingly monotonous aspects of life, Clark’s material builds in its absurdity as it progresses, even becoming rather sinister towards the end of his set, which, he notes, ran over considerably, perhaps by almost fifteen minutes. Neither he nor the audience seemed to mind.

The final act on the bill, as alluded to earlier, is the markedly laid-back Nathan Caton. His perspective on numerous political and social issues is refreshingly down to earth, and he certainly does not fear stating controversial opinions, such as his sarcastic retorts about allegations against the late Michael Jackson. Not only can Nathan back up his bold claims, he also manages to squeeze every last laugh out of them, and one can’t help but wonder if he is saying what the majority of us are thinking anyway. Nathan Caton is touring the UK with his latest solo hour this year; purchase your tickets here.

BRAMALL COMEDY NIGHTS

Review: Bramall Comedy Night, Bethany Black, Bobby Mair & Zoe Lyons

February 24, 2016 by Becca Moody Leave a Comment

Comedy nights at the Bramall on the University of Birmingham campus seem to be getting busier each month, and this is in part surely a result of the increasingly diverse nature of its lineups. The compère for last week’s event was Manchester comic Bethany Black; a performer with a subtle, untroubled confidence on stage that speaks for itself, without any need for an exaggeration of character to make up for underlying insecurities often present in the stand up business. I’m unsure as to whether she would be surprised to hear that she gives this impression, but Bethany has an incredibly cool and calm manner. She successfully balances sinister elements of narrative with a down-to-earth tone and her style of audience interaction is reassuringly laid back.

Bobby Mair

Bobby Mair, a previous Comedian of the Month on MoodyComedy, followed. Mair’s performance was surprisingly subdued, playing up to the persona of perhaps a vulnerable, oddly menacing child. Silences were more often utilised than shouting in this set, which is not an element of his performance I expected but gave his whole character a whole lot more substance and grit. With a host of near-one-liners, this comedian displayed a knack for making written material sound impulsive, whilst keeping an intriguing distance between his true self and the audience at all times throughout.

The final act of the evening was Zoe Lyons, a recognisable face from programmes including Mock The Week and Live At The Apollo. Her arrival at the Bramall was clearly well appreciated by those in attendance, with her accessible observations regarding the differences between cultures getting the biggest laughs. Lyons is very physically and vocally expressive in performance, indicating a lot about each person’s character and background through her depiction of their voice, and her impressions of various elements of British wildlife added an absurdist twist to her material.

BRAMALL COMEDY NIGHTS

Review: Bramall Comedy Night Daliso Chaponda, John Robertson & Ellie Taylor

January 20, 2016 by Becca Moody Leave a Comment

It is always a signal of a friendly, supportive atmosphere at a comedy gig when the compère decides to sit with the rest of the audience and watch the acts. That seems to sum up the feel of the monthly comedy nights at Bramall Hall in Birmingham, and is perhaps why audiences are consistently keen.

Daliso Chaponda is not a comic I was familiar with prior to Bramall Hall’s most recent comedy night but he is certainly an example of someone with a great enthusiasm and respect for the craft of stand up comedy, frequently being the one laughing the loudest at the rest of the evening’s entertainment. Chaponda himself is an extremely endearing performer, speaking in hushed tones with the audience quietening in order to listen. This somewhat delicate demeanour contrasts delightfully against the occasional expletive or crude remark, making his set one that ticked all the boxes, as well as providing that little bit of extra shock factor.

John Robertson

With this next act being the proud creator of live-action videogame The Dark Room (look it up if you haven’t already), I was unsure of what to expect from Australian comic John Robertson. I was expecting, however, that he would naturally require a microphone to amplify his voice across the relatively large music hall, but alas he did not. Robertson is the epitome of the naughty boy at school who everyone knows is an attention seeker (he is, of course, a stand up comedian) but is still the most popular boy in the class. Incredibly loud and well-articulated, this act surely won’t please every audience member but that didn’t seem to matter with so many people being on board from the get-go anyway. The next twenty minutes were a storm of unpredictability, shouting, audience interaction and ideas that weren’t always followed through, with the majority of us being left wanting more.

Ellie Taylor, last June’s Comedian of the Month and presenter of popular makeover programme Snog, Marry, Avoid, is a confident presence on stage, with an aptitude for audience communication as well as storytelling. Her height, while providing a space for material about her time spent as a model, allows Taylor’s stand up to take on a more physical element. The fact that this comedian is not afraid to be goofy or silly definitely works in her favour, with a warmth to anecdotes that ensures an immediate audience connection. Seeing a live performance from Ellie Taylor was something that had been on my to-do list for a long time and her set showed great promise for a fantastic new Edinburgh show in August 2016.

BRAMALL COMEDY NIGHTS